The gameplay of DXHR didn’t see a whole lot of change in DXMD. The XP system still incentivizes nonsense like hacking doors you have the codes for–if it were up to me, I’d only award XP for reaching new areas and finishing quests–and hacking is still the same RNG-heavy minigame that falls far short of its potential. I wanted more: a system where you give yourself wireless access to a building’s network after physically interacting with machines once, and gradually increase your privileges with a combination of both digital and physical intrusions. Maybe you knock out the security personnel to steal a phone, because there’s two-factor authentication on the turret system. Or maybe you can hack the phone itself from a few meters away, without touching anybody. I liked some of the new stuff where you used someone’s instant messenger app to try and casually ask their coworkers for a password, and I think that’s a start as far as digital intrusions go, but I still want to see more in the manner of Uplink.
The energy system is slightly different now, but I would argue it needed a deeper overhaul. Previously, any energy consumed above your minimum charge would not be returned at all; you’d always be refunded just enough to execute a melee takedown, and wouldn’t get any more energy than that until you used a consumable. In the sequel, your maximum charge is only lowered to a new slightly lower cap each time a skill is activated, which has the same result after several skills have been used, but before then it allows you to do things like keeping a cloak active until all your energy is drained, because you already paid the true cost as soon as you turned the cloak on.
But if anything really makes it less annoying than the older version of the system, it’s that you can lug around an absurd number of biocells, you can earn more money than you know what to do with in the first act, and you can always craft more biocells (or other consumables) on the fly with scrap metal. This makes the game far too easy, really, as you can completely cheese your way through any encounter if you’re willing to eat a few biocells and silent-cloak-sprint past literally anything, but assuming you still have an instinct to hoard those resources, you’ll still usually tend to scrimp on energy costs by sticking with the minimum bar. It’s still the most cost effect strategy to just throw a crate at the wall and then take out anybody who comes to investigate the sound, because the guards are still dumber than shit and will never notice that their friend who went to investigate a noise never came back. It feels patronizing when you’re this well-equipped and they’re unwilling to even send guards at you in pairs.
There are all kinds of things they might have dabbled with: individual skill cooldowns, for instance, or the reworking of skills. What if instead of having a silent-running aug you can turn on or off at will, it always only activates for 4 seconds, and then cannot be reactivated for another 10? What if you can’t cloak and move at the same time, unless you get a mod for the Icarus Dash, and only move with it? And while I couldn’t say for sure what would and wouldn’t work, I think there are possibilities with dynamic energy recharge rates, where you have to make do with a non-recharging bar until the player shuts down some kind of emitter or whatever. And it would be nice to have full energy with fast recharges when you aren’t trespassing and have no real reason to be delayed by a recharge.
The game still commits a cardinal stealth sin in not really being too clear about alarm levels. I pulled off no-kills without screwing up, but the dialogue sometimes made it sound like I killed some people when I put everyone in the level to sleep, and I always considered the terrible possibility that I had dropped a crate on some guard a little too hard and didn’t notice. And I did fail my no-alarms challenge without being too clear on where I went astray. Was it okay to be seen by those guys in the prologue? Otherwise, I was pretty sure I reloaded any time someone so much as fired their weapon. Was it when a camera saw a broken wall in a store, while I wasn’t in a story mission, and the store’s bodyguard came to investigate? It’s far too nebulous for my liking. I badly wanted a stats page in the pause menu to tell me how many times I’d been spotted in my current run, but there was nothing, and it sucked.
The game’s underlying systems felt too crude for stealth in a sandbox world where I’m not already plainly in a mission at all times. If you stand next to some civilian and throw a case of beer at the wall beside his head, he’ll do nothing, but if you slip through the door across from him into a restricted area, and throw the same beer case at the same spot, he’ll suddenly think the noise is something that needs to be investigated. Is this the best we can do in a 2016 game? Prague is a well-built city, not too big and with lots of stuff to meander around and climb over, but the shallow mechanics work against it. When you can build a Foolproof Mobile Stealth Unit by surrounding a cop with vending machines and kicking his ass five meters away from his partner without him finding out, the world feels emptier for it, although to be fair it’s also funny as hell.
I was satisfied with the length of the game, but I felt that too much of that time was misspent in the sandbox parts, which felt padded. I mean, I dug through a lot of trash in vacant buildings in the hopes of finding a praxis kit, and buildings without people tend to be boring. Of course, guards who are dumber than cameras are a little boring, too. Their sandbox focus here reminds me of some of Thief 3’s missteps, but then I also remember the time a Thief 3 guard said “Maybe he’s hiding behind that chair,” before actually checking the chair out. In the intervening dozen years, we may have regressed, if anything.
Like most AAA games, the design is sloppy, but the things that can be made better just by throwing a lot of labor at them are very impressive: the people at Eidos who designed the architecture and decorated the apartments clearly weren’t phoning it in, and I’m sure that every time I walked past a cluttered office bulletin board without reading it, I was walking past a day’s work for somebody on the development team. But advanced decorating skills aren’t going to save a mediocre experience. I also gave up on reading all the ebooks and emails: it just wasn’t rewarding.
I think the game definitely made some strides over its predecessor when it comes to lethal firearms, ammunition types, modifications et cetera, and I suppose I’ll play with those some more if I ever convince myself to do another full playthrough, seeing as I already got the no-kills run out of the way. There were also a handful of new non-lethal options, which is always great to see, but I never really bothered with “loud” non-lethal options like the Typhoon or PEPS. I think the best thing for non-lethal variety is just that I think you now get as much XP by tranqing a guy in the head as you do with a melee takedown, which I don’t think was the case in DXHR. I didn’t watch nearly as many long, canned kung-fu moves this time around. But it would’ve been so much better to not have to deal with XP micromanagement at all.
The debate showdowns are still cool, but still stubbornly refuse to let you skip lines of text for people replaying the game, or just reloading to see what the other outcomes were. Luckily, I tended to get the result I wanted the first time around, although the CASIE aug felt a bit like one might when predicting the weather by tossing animal bones around. I have no idea if there’s still an element of RNG in terms of people accepting or rejecting your arguments. I totally missed out on Otar’s conversation though, ostensibly because I didn’t enter the room through the door I was supposed to, so I just hit him with a stun gun and missed out on his sidequests. This might be why, throughout the game, Radich Nikoladze never really seemed to amount to anything, but I don’t know.
The story was… well, once again I found the overall premise hamfisted and requiring frequent suspension of disbelief. People look at the Six Million Dollar Man with contempt, because augmentation is associated with a poor lower class–and when you consider that migrant worker slaves and prostitutes are sometimes forcibly augmented and then made to spend what little they earn on neuropozyne, this doesn’t come completely out of left field, but looking at the bigger picture, it’s still insane. People are also afraid that these cyborgs are vulnerable to security risks and might go on a killing spree at any given moment, which is justifiable, but strangely they don’t extend this same fear to the militarized police officers who walk around in powered exoskeletons. Nevermind that there’s no need for a robotic leg to be connected to the internet, or to otherwise have any component vulnerable to malware.
I don’t want to get carried away writing about the themes, but as with DXHR, I found its dystopian messaging and by extension its politics to be shallow and uninformed. It touched upon adversarial journalism and activist hacking in a very gormless, middle-of-the-road way, and portrayed collective action as inherently cultish or unpalatable. None of this is terribly surprising for a $70 million spectacle game.
I did come away appreciating a lot of people in the cast, and women stole the show in particular, including Alex Vega, Delara, and Daria, who would’ve felt right at home in an Ace Attorney game. I did find it unfortunate that Malik didn’t make a return appearance, as she was a favorite from the last game–we get Chikane shuttling us around instead, who can go fuck himself–but Eliza does return, which is cool.
Apart from the encore of some of DXHR’s most irritating design choices, my biggest problem was with gameplay bugs. On the DirectX 12 version, objects were constantly godtrashing, but when I switched to DirectX 11, I had my controls frequently locking up for 2 to 5 seconds at a time, a problem I learned to live with instead of actually fixing.
The game has eye-tracking support, and it went largely the way my experience with it in Watch Dogs 2 did. I enjoyed messing with it, although it was gimmicky and didn’t make me a better player. Getting the Icarus Dash to send you to the ledge or cover you were aiming at is hard enough when you do it with a mouse you have no trouble keeping still, so that particular functionality was quickly turned off in the eye-tracking menu. I left Aim At Gaze on, which probably would’ve frustrated me if I ever allowed myself to get into a firefight, and I also used it for the Tesla aug, which pretty much always had me starting my aim in the wrong place. That said, considering that you have to hold down the F4 key to aim the Tesla while still moving about with WASD and mouse controls, I think the game’s default control scheme was a bigger impediment than my eye-tracker ever was. Having UI elements go transparent when I wasn’t looking at them was probably the coolest trick the game had, and also probably the simplest one.
I haven’t played the expansions. I might pick them up down the road, at a discount, but to sell DLC without fixing some pretty rough bugs in your game doesn’t please me at all. Also, the way the DLC item packs are handled is staggeringly greedy: it pulls them off a server when you claim them, so you can never claim them again–if you erase your save file or start a fresh game, you’ll have to make do without them, unless you buy the damned things again with microtransactions. Frankly, this disgusts me, so it’s a good thing it has no bearing on the expansions, and their actual new mission content.
I haven’t messed around all that much with the Breach mode, and I didn’t download the useless-seeming mobile companion app. Breach might be an interesting way to expand the game with more pure challenge for those who want it, but with the game stripped of many of its assets–the characters and story and beautiful city environments–I doubt I could stay interested in sneaking around polygonal Tron-looking platforms for long. I wish they had invested the Breach development time into the main campaign instead.
The reviewer finds this game hard to get excited about, but still has a positive opinion of it. It may be somewhat fun, having good features or ideas counterbalanced by a few boring parts, bad design or other fundamentally irritating qualities that can’t easily be overlooked. Alternatively, it could be pleasant, but with nothing new to offer. Worth a little money if you’ve got the time for it.